Synth-DIY Yahoo! Groups Archives

Fine Art Matt papers and QTR

2016-03-20 by unesco18@...

Hi all,

I became a heavy user of QTR in the last weeks with my Epson 3880. I was always interested in (semi)glossy papers, but discovered fine art media some time ago (mostly cotton) and am really facinated with it.

So, after the experience of PK media I started to make curves for MK papers (I use OEM Epson inks). I have selected 10 different papers (Epson Press, Harman, Tecco, Ilford and some rebranded) and made ink separations and linearisation with 51 steps (Color Munki Photo). BTW, I love Epson Hot Press papers!

I was quite dissapointed when got the final curves and made some reference prints. They are washed out, too bright (compared to PK papers), no deep shadows. I know, that MK papers do not have such deep shadows, but I have also uses some Eric Chan profiles for Epson Press in ABW and results were excellent.

So, to the clue. I have realised, that when I linerised the curve, I move it up in the shadows zone, and as a consequence of linearity, the whole curve (stright line) goes up (becomes less steep than for PK). It opens not only shadows but also lighter tones.

My question is: what are the strategies for MK media? Any special shaping in shadows? Escape from linearity? Kind of black point compensation?

As a first step, I have used ink limit = 50, without boosting, the rest as default (or sometimes overlap in gray =15) and of course data taken from ink separation page.

Any help appreciated :-).!

Re: Fine Art Matt papers and QTR

2016-03-25 by azarijah@...

Hello. Your post was interesting. I use an Epson 7900 (though right now I am fighting a hard clog in my Cyan channel, but, despite Piezo flush, it might defeat the best efforts and push me to the total black solution -- aargh! since I do a ton of color for artists I know - meaning I may have to go to a surecolor to stay in business).

That said, I have QTR, use ColorMunki Photo for monitor profiles and so on. The B/W realm is nearly entirely unexplored by me to date; again, my focus has been color printing and prints.

My experience with matte strata is quite good, given the feedback I get from the artists (traditional media as well as photogs) as to my renderings of their work. This includes using PK or MK on Matte strata (via Photoshop, Camera Raw, or Lightroom) via the printer settings direct in the printer and via the print settings through the particular software. What I have found is using straight settings, including MK for matte strata, and the specific indicated ICC.... does not always yield the right, best output for the particular image. Further, I have found that even with the calibrations possible using X-Rite i!Profiler or the ColorMunki profile software, the intuitive route to a given image yields the finest outcomes. Now, that said, yes, this route increases production costs that are difficult to pass on to a client.

I like Epson strata. But I like the strata from Breathing Color much better, and often find myself using the Epson surfaces for testing, experimenting and comparing. The strata from BC far more often generate the exclaims from my clients.... including (to me) the penultimate compliment: The prints look better than my original work..........

This is not pinpoint to your query. But I am also looking to get a fuller understanding of QTR and how to incorporate it into my workflow, and to extrapolate from there........

QTR-Quadtone RIP

Fine Art Matt papers and QTR

Fine Art Matt papers and QTR

Re: Fine Art Matt papers and QTR

Move to quarantaine